Introduction: A ‘Curvature of Social Space’

This article provides a comprehensive and critical overview of existing research that investigates (directly and indirectly) the religio-spiritual dimensions of electronic dance music culture (EDMC) (from disco, through house, to post-rave forms). Studies of the culture and religion of EDMC are explored under four broad groupings: the cultural religion of EDMC expressed through ‘ritual’ and ‘festal’; subjectivity, corporeality and the phenomenological dance experience (especially ‘ecstasy’ and ‘trance’); the dance community and a sense of belonging (the ‘vibe’ and ‘tribes’); and EDMC as a new ‘spirituality of life’. Moving beyond the cultural Marxist approaches of the 1970s, which held youth (sub)cultural expressions as ‘ineffectual’ and ‘tragic’, and the postmodernist approaches of the early 1990s, which held rave to be an ‘implosion of meaning’, recent anthropological and sociological approaches recognise that the various manifestations of this youth cultural phenomenon possess meaning, purpose and significance for participants. Contemporary scholarship thus conveys the presence of religiosity and spirituality within contemporary popular cultural formations. In conclusion, I suggest that this and continuing scholarship can offer useful counterpoint to at least one recent account (of clubbing) that overlooks the significance of EDMC through a restricted and prejudiced apprehension of ‘religion’.     

Response to editorial

This article focuses on the importance of analysing the mainstream post-rave dance scene in the context of studies of the religious significance of electronic dance cultures. Drawing on their own ethnographic research, as well as other recent comparable studies in Britain, the authors argue that the mainstream post-rave dance scene is a ‘secondary institution’ supporting the new social form of religion identified by Luckmann, which emphasises self-realisation and self-expression. The study serves as an invitation to re-consider the definition of ‘religion’ in relation to electronic dance cultures and points to the role of mainstream leisure industries in supporting contemporary secular worldviews.